Merzan, the Destiny of an Artist

by Marc Blake

  Matahina looks peaceful sitting in the sand close to the calm light blue water of the bay. The water seems to borrow its beautiful color from Matahina’s eyes. She’s quietly humming a lovely Tahitian melody. It’s a lullaby which she learned from her mother as a young child.

  While humming this lullaby, Matahina thinks about, and recollects, when she was a very young girl. Her mother would sing her this lullaby, always presented in the most comforting manner.

  Her song seams to breath with the rhythm of the water on the bay.

  Even the palm trees sway as if they are waltzing to her song.

  She continues her jewelry-making project and begins singing “Matahina’s Lullaby.”

  Evening stars, rising sun

  Mo’ore’a sings her song for you.

  Swaying palms, gentle breeze,

  loves harmony we choose.

  Take you home, take you home,

  adventures on this endless sea.

  Take you home, take you home,

  hold you in the arms of destiny.

  A little lizard crawls upon an open book Matahina has sitting on the sand next to her. The lizard stops and watches her, cocking its head from side to side – almost in rhythm to her song. The lizard looks down at the book as if it is reading one or two words on the page. Then the lizard looks back up at Matahina. She reaches for the lizard. The lizard cooperatively steps onto the open palm of her hand. She brings the lizard near her face.

  “Hello my little friend. Do you love my song?” She waits for response. “Perhaps you love the book?” Matahina laughs a little at her silly questions but continues to wait for the lizard’s response as if she expects that it will answer her. It doesn’t, naturally.

  Her mother and father approach coming into focus as they get closer.

  Élise calls out to Matahina, “Matahina, yeux de déesse.”

  TRANSLATION: Matahina, goddess eyes.

  Élise continues, “Is your necklace ready for the Festival of Abundance?”

  Temaru, the King, notices her holding the little lizard. He asks his daughter, “Who have we here, Matahina? Is this your prince for the festival my Princess?”

  Matahina becomes very serious and responds, “Father? Why do I have no brothers or sisters?”

  Temaru is prepared to answer and begins to do so, “Matahina...”

  He thinks for an additional moment about how exactly to respond, draws a breath to continue but is beat to any further explanation by his wife.

  Élise jumps in, “Matahina, when you were born you were very stubborn.”

  Temaru interjects, “... and that has not changed!”

  Matahina’s birthdate, though late in the pregnancy, was predicted by the Gods of the Island.

  Élise continues, “But then, you were finally ready to find your place on our Island.”

  Élise touches her stomach to clarify that a difficult birthing worked out after all.

  Temaru adds, “You were three weeks past ready!”

  Temaru touches his wife’s stomach and rolls his eyes.

  He says, “and still are far more stubborn than your mother!”

  Matahina pretends she has no clue to his claim, “Me father?”

  Matahina overacts her innocence, rolling her eyes just like her father does. She knows how to use her natural charms to buy her way out of a situation with her parents.

  Élise looks to the sky and says, “Heaven sent a small, very colorful bird to speak to me in my dream. When it spoke...”

  Temaru, knowing a different story – the truth, rolls his eyes again WIDER! He inquires, “... And what did this very colorful bird tell you Eeva?”

  Eeva sits down next to Matahina and begins petting the lizard’s head.

  Élise tells them, “This bird spoke to me and said, Eeva, you will give birth to a Princess who, one day, will bring greatness to Mo’ore’a. She will be loved by all the people on this Island. When she smiles it will lift fear from people’s hearts everywhere she travels. This is the story that has been written in the stars for you Matahina.”

  Élise, Eeva as Temaru calls her in Tahitian, begins to get up from the sand and hides a small amount of pain in her abdomen while lifting herself up. Temaru helps her up. They look at each, privately concerned, but seem to understand and accept the pain Eeva is feeling.

  Matahina speaks to the lizard. “Then you shall be my brother and I shall name you after my Island.” Matahina uses her commanding majesty and announces, “From this moment, you hereby shall be called Mo’ore’a, the yellow lizard...”

  Matahina christens him by kissing her finger tip then touching it to the lizard’s head.

  “... and you are now a Prince of Polynesia and sworn to protect the Island of Mo’ore’a from all anger.”

  Temaru is confused. He says, “But Matahina, this lizard is not yellow.”

  Matahina sadly responds, “...and he’s not really my brother, father!”

  She sets the lizard down on the book and it scurries away across the perfect white sand beach.

  Matahina looks back up to her father.

  Matahina adds with a private little laugh, “... and that lizard was a girl.”

  They all laugh at the meaningless and silly behavior.

  6 Streets of Opportunity

  Back on the train, Merzan’s travel to Paris is complete. He’s just arrived at the train station. It’s about to become late afternoon.

  Merzan grabs his small suitcase and begins walking out of the train station. He immediately becomes entranced with the people, the activity, architecture, the light leaking between all the shapes, the patterns and reflections. Everywhere he looks becomes a momentary snapshot that turns into a slide show sequence. The train station itself is rich with design and Merzan can’t take it all in quick enough.

  Merzan’s view of everything he looks at begs to become a great work of art painted on a canvas. “If only I could draw,” he thinks to himself with near-frustration.

  He even surprises himself with his strong desire to create. It’s fed and stimulated by what he sees with his untrained, yet creative, eye. Merzan knows he is going to be studying art finally and can’t wait to acquire this formal training.

  Merzan is enjoying his walk to his new school on the streets of Paris when he wanders by a camera shop. The shop is closed in the late afternoon. Something compels him to stop. He looks in the window. He eyeballs the window display and keys in on a Rolleiflex (Rollei) twin lens reflex camera in a smooth shiny brown leather case with its very thin brown leather strap. He sees the high price tag and has a guttural reaction. “Wow, so many francs,” he thinks to himself.

  He looks elsewhere through the shop window and sees the word “photography” which catches his attention. Merzan looks closer to see that the word is printed on a brochure. It appears to be on the topic of French Polynesia – perhaps something about how the beautiful islands are a photographer’s paradise. He’s not sure, but curious. Anything to do with the tropics are quick to remind him of his childhood dreams.

  Merzan thinks about his inability to draw and considers photography as a consolation option for his true desire to be an artiste.

  Merzan’s vivid imagination sends him into a dream sequence of a glorious nighttime gallerie opening. He imagines he is now a great photographer. His artwork is on display and “Merzan, Artiste de la Photographie” is visible on the marquee. There is live music and a very fine reception in place.

  He walks through the doors where, inside, easel upon easel are lined up with embroidered gold and royal purple covers hiding the work on each easel, awaiting the moment to debut the art. Merzan’s photographic masterpieces are about to be displayed for the first time. In unison and on cue with the musical tribute the covers are removed by overly dressed gallerie attendants and Merzan is shocked to find that images on each easel is blank. No sooner, all the easels give way and collapse and his dream stalls back to reality.

  Shocked Merzan can’t stop himself from s
peaking to a stranger walking by.

  Completely alarmed, Merzan says, “Did you see that monsieur?”

  The stranger looks puzzled and adjusts his coat and hat as he walks by without a verbal response – never missing a step – perplexed by the “out of context” senseless question of the young Merzan.

  Merzan begins to calm down from his self-inflicted opening exhibition fiasco and decides that photography is not in his interest after all.

  Merzan has nearly completed his walk to his new school. He is now just down the street from the Lycée Michelet. The afternoon has grown to be as late as it can with just enough sunlight to introduce additional beauty to everything Merzan sees. It fascinates him while looking at the amazing sights in every direction. In this very short time, he’s in love with Paris.

  7 Here, at Last

  Looking past Merzan are the gates and a sign introducing the high school. Just beyond are the front doors of the main building. Seeing the entrance causes Merzan to prepare himself for his arriving introduction.

  Practicing, rehearsing quietly to himself, he says, “Bonsoir! I am Merzan here to study the history of art.”

  After a little more rehearsal, Merzan is now standing in front of the administration office’s main desk where the school secretary is handling his arrival. After announcing himself, she says, “Merzan L’Granaré,” and scans a list of names on a sheet.

  Finding his name, “Merzan L’Granaré, ah oui. Here you are.”

  Merzan, not unexpectedly, is preoccupied looking at the shapes and light hitting the interior of the unique building – once belonging to a real prince.

  The school secretary uses a bit more dominance to gain his attention, “Merzan L’Granaré, ah oui. Here you are.”

  Merzan, alerted, touches himself to prove that here he is, indeed. He nods and smiles in agreement with the fact that here he is! He feels relaxed to allow his playful personality to warm the mood of the interaction.

  Pleasantly enough she requests, “Your papers s’il vous plaît.”

  She is waiting for Merzan again, expecting his attention. However, and again, he’s preoccupied with the interesting office interior.

  Noticing his uninterruptible interest in the facility she has a different approach to use and calculates her next series of questions and comments, “Young man! I am going to need your enrollment papers. Do you have them with you?”

  Again, Merzan finally snaps back to attention. He apologizes, “Forgive me. Of course. This is what you need, oui?”

  Merzan seems to be back in control of the moment for the moment.

  The school secretary stops the enrollment process. She stands up from her desk and walks around the counter. She puts her arm around Merzan and escorts him to a corner of the room. Almost secretively, she takes him to a private vantage point.

  Friendly, she speaks, “Let me see. I think you are here to be a student of the arts, no?”

  “Art history madame!” Merzan proudly answers.

  Like an instructor she says to him, “Then your first lesson begins now.”

  She abruptly twists him by the shoulders to reposition his vantage point in the room. He’s surprised by her unexpected jerking twist.

  Merzan questions the fact that he’s about to have a first lesson without even going to his first classroom. He inquires, “My first...”

  Before Merzan can make any inquiry at all she interrupts, “The Lycée Michelet was upgraded with additional classrooms in the middle of the 1800’s.”

  She’s changed from teacher to tour guide.

  “Traditional French styling converted this ancient castle into what you see now.”

  Abruptly, she adjusts Merzan’s head.

  “So! Do you see this Merzan, my little artiste?”

  Merzan recovering from being jerked suddenly, again, tries to inquire, “Do I see...”

  The school secretary really doesn’t care about hearing his response, she continues, “You must learn to see Merzan.”

  She is now even more insistent, “I will show you. Cover your eyes with your hands Merzan.”

  She covers his eyes with her hands before he can bring his own hands in place. Merzan reacts.

  Dominating with her one-way conversation, “Now... you can see nothing, no? Never mind! When I uncover your eyes do not look at this building, look only at the light.”

  The light pouring in from the last few minutes of afternoon sunlight is pretty fantastic. If it was in one’s nature and one were to take the time to notice, one certainly would be impressed.

  She removes her hands and the afternoon sun streaming into the room through the windows is creating a magical view that is more painterly, than real.

  Merzan’s imagination transforms the room into a momentary mood of an island-like paradise supported by a gentle Polynesian underscore. He can actually hear the tropical music accompanied by a light tropical breeze.

  Merzan’s face and his eyes are lit up in awe. He’s actually so overwhelmed by what he sees and feels it causes him to have an epiphany. He knows how light can play on objects and today’s study is even more illuminating. He adds a gentle smile and acceptance to his expression. Merzan is finding new comfort and excitement with the use of his vivid imagination. Merzan experiences a creative self-discovery from seeing things with new eyes.

  Merzan’s visual fantasy gets shut down quickly when the school secretary continues to control the conversation, this time with the business at hand! “Come! Let’s see about your dormitory.”

  Outside the administration building, Merzan now finds his way to his dorm. The trees are swaying in rhythm to the soft wind and Merzan is receiving visual cues from the secretary – pointing Merzan to his dormitory. Merzan’s eyes are capturing everything he can see – as quickly as possible – feeling as though a new world, a new vision have opened up for him. Merzan has arrived at his new high school to study art history! He feels like this is truly the beginning of new adventures he once was only able to dream about.

  8 There’s No Trouble in Paradise

  We jump back to the Island of Mo’ore’a. It’s early sunrise. Matahina is picking flowers and fruit from the trees along the beach. She is filling her basket with the colorful abundance.

  A small boat is on the water in the bay very close to the shore. In the boat is Toanui, a 17 year old strong, young island native. He is the son of the Island’s Minister of Culture. He is acting as if he is a one-man army forming a blockade against an incoming ferry filled with today’s tourists.

  Speaking only to the wind as nobody but Matahina can hear his demands, “There is nothing here for you. Turn back! Turn back.”

  Waving his oar in the air like it is a sword he exclaims, “My island has only danger for you. Turn back. Come no further.”

  Toanui’s boat drifts even closer to the shore where Matahina can speak to him at a relaxed level of volume, “Toanui. Why do you continue your battle with the tourists? Each season they are brought here for such a short time and then returned to their hotel in Pape’ete. They have never caused you harm Toanui.”

  Toanui, hearing Matahina’s voice from the beach, abandons his warrior-like quest, jumps out of his boat and pulls it onto sand. He walks close to Matahina. You can see his deep affection for her in his eyes. He tries to take her basket to help her while she gathers fruit and flowers from the nearby trees and plants. She won’t allow this.

  Toanui picks a most beautiful natural orchid. Without permission, he tries to place is perfectly in Matahina’s silky black hair.

  Matahina’s light blue eyes are catching the light from the sunrise as it bounces off the turquoise colored sea. The orchid that Toanui lifts toward her glows against her deep black hair.

  Matahina drops the basket. This sends Toanui jumping back so he can avoid having it land on his feet as it falls. She grabs the flower from Toanui’s hand refusing to let him touch her. She looks at the flower and she places it in her hair by herself.

  Toanui is me
lted by Matahina’s beauty. Toanui also yields respectfully to her Highness knowing he’s overstepped his ground.

  He tries to ease the tension of his inappropriate forwardness and says, “This flower has no beauty compared to the Princess of Mo’ore’a.”

  Matahina refuses to acknowledge his poor attempt to pay her a compliment.

  Toanui bows then he picks up the basket. Matahina allows him to accompany her and help. They are lifelong friends that obviously know each other well.

  Matahina reminds him, “Toanui, the flowers you pick will never be for me. And we have talked about this over and over.”

  Toanui replies, “I will protect you, Princess, just as I have protected your Island each season from the invasion of these tourists.”

  Matahina looks toward the dock. She sees the ferry arriving and tying off.

  Matahina says sarcastically, “Well then, Toanui, great warrior, it seems this is another battle you have lost!”

  She points to the dock, with attitude, making her comment quite clear to him. Toanui’s expression admits his defeat.

  Tourists are now disembarking from the ferry boat. Toanui doesn’t know what to do. Again, his quest to secure the island from the invasion caused by tourism is out of his control.

  The tourists see the attractive Tahitian couple and scurry to take photographs of them. Toanui and Matahina look postcard perfect in their natural habitat.

  Matahina accommodates the tourists with a friendly smile and warmly allows them access to photograph her even in light of their somewhat inconsiderate and sometimes abrupt behavior and intrusion.

  Toanui, however, openly acts angered. He hands Matahina back her basket, then he abruptly works his way past the tourists to get to his small boat. He starts to row away.

  Tourists capture all the action with their still cameras and 8mm movie cameras. They are fully engaged in the midst of their extraordinary Tahitian adventure with real Tahitians.

  Captain Bell, a huge, 300+ pound fifty something Polynesian sea captain, with a very rough exterior operates his ferry business out of Pape’ete. He finishes securing his boat. He sees Matahina cooperating for the tourists. He comes over to the tour group.